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INFLIGHT 
Book #2 - 
Terror Bloodline Series


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Terror Bloodline Series



INFLIGHT  Book #2 


Terror Bloodline Series


Featuring Ex-CIA Agent, Jon Bradley



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# Suspense #Adventure 

#Crime  #Mystery


Books #2 INFLIGHT continues with the action oriented plot of dangerous and intriguing, multi-dimensional  characters revolving around a family sharing a terrorist bloodline, including their agenda of personal vendetta. 



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TERROR BLOODLINE Series

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PREVIEW of Chapter Three


TERROR BLOODLINE Series Book 1


CROSSFIRE   Book #1

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CROSSFIRE  Book #1 


Terror Bloodline Series

Featuring Ex-CIA Agent, Jon Bradley



By Paul Rodricks


International fast-paced Action #Thriller 

# Suspense #Adventure 

#Crime  #Mystery


Reviews: 


"The fact that it is the first of three books makes Crossfire all that more compelling plus it's a fun to read. Paul POV shifts from telling a story to the illusion of real time which creates a healthy tension throughout. One of the finer elements in the book that helps make it authentic is the authors knowledge of the geo areas where the story takes place."


"The novel is multidimensional. There are several plot elements working simultaneously that the author handles with skill. The murder of his friend and the personal relationship between Jon and his lady friend, a rape victim, add depth to the novel. The story shifts between the current investigation and his previous, very dangerous, actions in Lebanon as a CIA operative."


Read here the Preview of the CHAPTER THREE from this book, CROSSFIRE:


CHAPTER THREE   

New Jersey 1962 – New York 2002 
Jonathan Bradley


     Born in the summer of the year 1962 of Portuguese-American ancestry in the State of New Jersey, Jonathan Bradley now 44-years old, stood at 6.1”  with broad shoulders, good looking in a rugged manner, possessing a lean, strong face with a firm jaw-line,  alert hazel eyes between an aquiline nose, and wearing  light brown wavy hair combed backwards. Although fair skinned, his complexion showed a trace of medium skin-tone, part of his Iberian heritage.

     The only marring feature in his otherwise modest presentation was the slight three inch scar running down the left ear on the side of his neck.  This was a vivid reminder from a firefight ambush in the faraway Beqa’a Valley of the beleaguered southern Lebanon, during his tenure as the CIA’s covert operative stationed at the Beirut American Embassy.

     Bradley finished High School at 21 years of age.  Played basketball for his school, was a team-worker, and seen as fast-footed, making quick-thinking moves. He was an average student, but displayed a flair for foreign languages such as French, German and Arabic, the latter mostly self-taught.

     Jon appeared to have already made up his mind during his high school years stint itself about his future career in the espionage world. 

     At the age of twenty-five he earned a Bachelor’s Degree in Criminal Justice. Did a one-year internship in the New York City Justice Dept., then joined the Counter-terrorism unit of the FBI, before being recruited by the CIA,  under its Directorate of Operations program following the required CIA security clearances and passing  very thorough background checks. 

     At the CIA’s Farm in Virginia, Jonathan trained for two years at the Camp Peary army base, drafted in the program to become a Case Officer assigned to work abroad in the US embassies or consulates under the cover of Reserve Foreign Service Officer.

     Thereafter, he opted for almost another two years of paramilitary training at the Jungle Warfare Training Center at Fort Sherman, Panama, which included handling firearms and explosives, hand-to-hand combat and active surveillance by electronics, cars and power boats, making parachute jumps, besides running the obstacle course.

     The final notations made by his trainers in his dossier included acknowledgment of Bradley’s aptitude for foreign languages, particularly Arabic, while underscoring his natural tendency towards team-spirit, risk-taking, and as a quick-learner possessing analytical skills, and not the least a healthy, strong physique.

     Jonathan Bradley’s ability to converse in Arabic and his near mid-eastern complexion, earned him his posting to the CIA’s Near East Division.

     His principal job would be to recruit and control foreign agents and underground informants to penetrate the extremists and Islamic–Jihadist militant groups or cells training to undertake terror attacks on foreign assets especially inside the U.S.A. Moreover, once stationed in a foreign country and holding a consular position, Jon would personally attempt to establish contacts with the local government leaders, including from the opposition, and the military and intelligence officials, in his task of gathering covert intelligence on foreign soil.

                                     ***   


                             To be continued...







Preview of Section 2 - MUSIC NOTES/TONES

Creative Music Composing
Self-Teaching Manual



Releasing soon......

Self-Teaching Manual


By Paul Rodricks

Have you ever felt the urge to write your own songs? 
To compose your own lyrics and melody?
Are you a lyricist wishing to set music to your lyrics? 
Or a music composer desirous of writing the lyrics to
your music? Or a music lover and hobbyist wondering
how songs are crafted? 

If so, Creative Music Composing 
is just the right practical
self-teaching manual for you. Because Songwriting has
never been made so easy and simple.

The Manual  covers all the music aspects of Writing Melodies– melody notes, tonality of scales and harmony in chord progressions and rhythm. You begin from learning to create simple melodies to composing complete performing versions of songs by using the Digital Numbering System, the Solfeggio (do-re-mi) and ABCDEFG notation methods. 

Become a successful Songwriter.  Compose your
own Lyrics and Music to styles such as Pop, Rock,
Blues, Country, R&B, Jazz, Gospel and others.


Read here the Preview of the Section 2 from Creative Music Composing by Paul Rodricks:


Section 2


The Music Notes/Tones
                        
    Music notes are written on the lines and in the spaces of the Staff.   
   
    Names of the notes on the lines of the music Staff can be remembered as Every Good Boy Does Fine and those that appear in the spaces, between the lines of the Staff, as F A C E.

    Below Figures 9 & 10 – Showing Music Notes on the Lines and in the Spaces of the Staff.

    Fig.  9 -  Music Notes on the Staff Lines

                       E        G        B         D         F


Fig. 10  –  Music Notes between the lines – in Spaces of the Staff

                         F          A          C           E



The Ledger Lines                  

    When the range of notes goes outside the staff on its either side, towards top or bottom, the notes are placed on short lines called the “ledger lines”.

Fig.  11  – The Ledger Lines on G Clef & Bass Clef  

                                                              G     A     B     C      D    E   F    G
     


                                                    F    E     D     C      B     A    G     F



The Staff Pitch Symbols

The Treble & Bass Clefs
               
    The pitch or tone of any musical note on the staff is determined by placing a graphical sign called the Clef at the extreme left-hand side of the staff.  By establishing the pitch of the note on one particular line of the staff, the Clef thereby fixes the pitch of all the other notes lying on, or related to the same staff.

The Treble or G Clef

    The treble clef is also called the G clef because the inner curve of the clef symbol marks the horizontal line associated with the note G above middle C. The treble clef is actually a stylized letter G.


Fig.  12 - The Treble or G Clef

 Generally, melody for most instruments including the guitar, keyboard and vocals [sight reading] is written in the G Clef.

The Bass or F Clef                                   
                       
    The Bass Clef is also called the F Clef because the two dots in the symbol which lie above and below the horizontal line are associated with the note F below middle C. The Bass Clef symbol is actually a stylized letter F.

Fig.  13 – The Bass or F Clef

    The Bass or F Clef is the one you see, for instance, on the keyboard sheet music written below the G Clef for playing the harmony – the chords – with your left hand.

The below figure shows both symbols as they are positioned on the music staff.

    Fig. 14 - Music Notes of the C Major Scale as written on the Treble and Bass Clefs



Treble Clef Notes

    Below Figure shows the melody notes of the C Major Scale in 4/4 time, corresponding to the notes of the piano/keyboard from the middle C to the high octave C, ascending and descending:-

    Fig. 15 - Treble Clef Notes of the C Major Scale






Music Keyboard Notes
                                          
    In the following diagram the piano/organ keyboard picture shows the middle C from which note you play the melody with the right-hand. You will also notice that from below Middle C the Bass Clef notes start, namely B A G F E D C B A G F E D C (as played with the left hand).

Fig. 16 – The Piano/Organ Keyboard
                            ·       Middle C                                            
The names of the C Major scale notes as they appear on the staff of G Clef and Bass Clef :

    Bass Clef Notes
                  
    From the following examples in Figures 18 and 19 , you would learn the names of the notes written on the lines and in the spaces of the staff for Bass, F clef sheet music:-
    
Fig. 18 – C Major Scale Notes on Lines of the Bass Clef                       
                         G         B        D        F         A
                        G ood   B oys  D o     F ine    A lways 

   Fig. 19 - C Major Scale Notes in the space, between lines, of the Bass Clef:
                              A            C            E            G                                                          All          C ows     E at         G rass 
            

NEXT: SECTION 3

Rhythm in Music


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please use the CONTACT FORM or contact

Author: paulrodericks@gmail.com

                                          
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I invite your comments and queries. Thank you.

Paul Rodricks, 
Author.